Game of Thrones: Blackwater

“Who are you, that I must bow so low?"

In keeping with the tradition established by last season’s “Baelor,” Season Two’s penultimate episode was a doozy: violent, personal, and—I think—with something for both book readers and newbies. Plus, wildfire and the "Rains of Castemere"!

Discussion: Sequels and Prequels

Billie's recent review of The Matrix inspired a great discussion question from super-awesome-fabulous reader KAM: Which sequels or prequels surpass the originals? And which sequels or prequels should never have been made? We're turning that all-important question over to you, readers, in this week's discussion thread.

Snow White and the Huntsman

"You have eyes huntsman, but you do not see. She is the one."

This movie is pretty much as you’d expect it to be. It’s Snow White, just embellished to give it enough dimension to work as a large-scope action-adventure. That’s not to say it’s a bad movie though, it’s actually pretty great, and leaves very little left to the imagination, as creative and physical ingenuity take the story to new, exciting heights.

Mad Men: The Other Woman

"We've all had nights in our lives where we've made mistakes for free."

I've always thought there was something naturally tragic about owning a huge, fancy car. Okay, that's probably a little unfair. But so often the purchasing of something like the Jaguar at the center of The Other Woman is guided by the very fact that it's incredibly expensive and awe-inspiring. It's a physical reflection of your wealth, something that isn't static like a house or a fancy object, but something you can drive around and impress with by proxy of merely passing by. For those fleeting seconds it's ridiculously impressive. But, I don't know... it feels hollow. Maybe if you're genuinely filthy rich and could afford a couple of them, but when you're merely pushing the illusion of wealth and grandeur, it can't help but read as sort of underwhelming.

The Matrix

[This review includes spoilers.]

"Throughout human history, we have been dependent on machines to survive. Fate, it seems, is not without a sense of irony."

I saw this movie in the theater, with no idea what was coming. And it just blew me away.

World's Sexiest Supernaturals: The Top 25

The E! channel here in the UK is famous for doing these kinds of countdowns, most of which I avoid like the plague. But, how does one resist watching when they are counting down some of my favourite types of characters? I set the DVR and sat down to see what the general consensus was. So, without further ado:

Men In Black 3

Agent K: "There are things out there you don't need to know about."
Agent J: "That's not the lie you told me when you recruited me."

I left the theater with a smile. But it turned quickly into a frown as I pondered what was wrong with this movie. I spent the entire way home coming up with plot holes, inconsistencies, and paradoxes. Although I don't think it matters, because all of the Men In Black movies have had giant plot holes and inconsistencies.

Awake: Turtles All the Way Down

“Sometimes it’s miraculous, how you untangle something.”

As the story goes, a famous physicist gave a lecture explaining the structure of the universe. After his talk, a woman came up to him and asked, “How do you account for the fact the world rests on the back of a giant turtle?” “Ah,” he said, “but what does the turtle rest on?” “You can’t fool me,” she responded. “It’s turtles all the way down.”

WIGS, Geek and Sundry, and the Show Which Must Not Be Named

In an era of changing viewing habits, economic cuts, and poor career opportunities for women actors (unless it's porn), it should come as no surprise that there's been a shift recently towards alternative methods of product delivery. As genre TV junkies, we're already familiar with webisodes. (Even if we're not really sure what to do with them, where they fit in, or even if there's any point to them.) What some are now attempting to do is probably the next logical step in that evolution: exclusive online content, created by top drawer writers/directors/producers/actors, available to view when and where you want.

Glee: Goodbye

“We’re just gonna sit here and we’re gonna let go.... Can you do that with me? Can you surrender?”

Ahh. So many goodbyes to say. For this review I’ll talk about each of the graduating characters in turn:

Doux News: May 27, 2012

This week: Cancellations and Upcoming Fun -- Billie Made Me Post This -- So Sad it Deserves its Own Section -- Obama vs. Aliens -- Around the Internet -- Peter Dinklage, Drag Queen -- Philip K. Dick, Philosopher -- Perpetuate This, NBC.

[Billie’s cats have taken away her laptop privileges, and they tasked me with this week’s Doux News. Never fear: the cats have the attentions spans of Pomeranians, and they’ll release her soon.]

Community: Introduction to Finality

“Cruel, cruel, cruel.”

I'd like to start by apologising for taking so long with this review. It has been one hell of a turbulent week for Community fans and I've been having trouble articulating my thoughts and feelings about this episode, Dan Harmon's departure, and what the future holds for the show. I still am. Too bad I didn't have Sony to tell me what to say and think (way to Thought Police, guys). Anyway, after struggling for a week, this rambling mess is the best I could come up with. I hope you enjoy it.

Revenge: Reckoning

"Just stay where you are and do not do anything revenge-y until I get there."

It's the rare television show that knocks it out of the park in its first season. In fact, many don't really flourish until their second outings (Buffy being the perfect example of this). Others such as Lost and Alias had masterful debut seasons that were just brilliant on every level. For me, Revenge undoubtedly belongs to the latter group. While its character work may not be as layered as Lost's first season, and its plot twists not as jaw-dropping as Alias' debut, Revenge applies its special dose of soapy thrills and vengeful machinations quite amazingly.

Eureka: Worst Case Scenario

… in which the Global employees participate in a disaster preparedness drill, because apparently they haven’t had enough practice averting catastrophes.

Castle: A Chill Goes Through Her Veins

“A cop doesn’t get to decide how the story ends.”

Until now, Castle has been focused on Castle himself. We have spent four hours getting to know his family and poker buddies, the way he is integrating himself into the precinct and, to a small degree, the way he thinks. Much of what we know about Beckett has come through either discussions with the people with whom she works or Castle’s perception of her.

Mad Men: Christmas Waltz

"My mother raised me to be admired."

If you're involved in Mad Men's online fan community, then you're doubtlessly aware that there have recently been minor rumblings of dissatisfaction with this season. I certainly understand their reasoning, even if I don't particularly feel like season five has been any less strong than the preceding years. But, with all that in mind, there was definitely a sense of cool nostalgia in Don and Joan's get-together. It suddenly made me remember how much more intimate the show used to be, the cast bouncing off one another in smaller moments that bristled with energy, with dialogue that wasn't steaming with overt symbolism. While I adore this show and have so far loved this season, Don and Joan brought the house down, and the writers should really try and explore older relationships like that.

Castle: Hell Hath No Fury

“Just yanking your chain, Detective. Just yanking your chain.”

One of the things I most admire about the writers on Castle is that they did not force nor rush the initial stages of the Castle/Beckett partnership. Certainly the aspect of the show that kept me coming back through the initial episodes was being able to watch these two people forge a relationship. In this episode, as they solve the murder of a politician, the partnership is evolving -- but slowly.

Game of Thrones: The Prince of Winterfell (Novices)

[“The Prince of Winterfell” is a difficult episode to review without mentioning book spoilers and various hypotheses about what is coming next. For that reason, I have written two reviews: this one, which is spoiler-free for readers who have not read the book, and another for readers who have read up to the end of Storm of Swords. There’s some repetition between the two, because I am a bear of very little brain.]

Game of Thrones: The Prince of Winterfell (Bookreaders)

[“The Prince of Winterfell” is a difficult episode to review without mentioning book spoilers and various hypotheses about what is coming next. For that reason, I have written two reviews: one that is spoiler-free for readers who have not read the book, and this review, for readers who have read up to the end of Storm of Swords. There’s some repetition between the two, because I am a bear of very little brain.]

Castle: Hedge Fund Homeboys

“You know, actually having to prove things is really tedious.”

This week, our team sets out to solve the murder of a teenaged boy found floating in a row boat in Central Park. While the case itself was good enough, what was really well done was the theme of the show -- the juxtaposition of wealth and street in Manhattan, a point very well made by the title of the show.

Person of Interest: Firewall

“Just because you’re paranoid doesn’t mean they’re not trying to kill you.”

I like to think I’m too good for CBS shows, although I’ve only seen a few episodes of any of them. Despite (or perhaps because of) that fact, I think of CBS as a station for old people who enjoy watching Mark Harmon solve the same case every week. But over the past nine months I’ve gradually fallen into like (not love) with Person of Interest, which manages to work moments of hilarity, maturity, and poetically painful loneliness into its procedural person-of-the-week structure.

The Secret Circle: Family

“The time has finally come for a cleansing.”

This episode had to be amazing, didn’t it? Just to make it even more awful for me to say goodbye. Ugh. Family wasn’t altogether shocking; in fact everything that happened was kind of to be expected. Predictable doesn’t adequately describe it though, because it was all stuff that had to happen. The Secret Circle was headed in the right direction, characters were even more appealing than they were before and the future looked bright. One thing’s for certain: season two would have been amazing.

Doux News: May 20, 2012

This week: New shows this fall (Revolution, 666 Park Avenue) -- Big changes on the CW -- Big change on Community -- Summer shows -- Haunted hospital -- Tweet of the week

Once Upon a Time: A Land Without Magic

“Magic is coming.”

Sword fights! Dragons! True loves kiss! Those were just a small fraction of the events of ‘A Land Without Magic’, an episode that proved itself to be the season finale we’d been waiting for. All of the season’s storylines were brought together seamlessly, and the episode was an emotionally charged spectacle from start to finish, never once letting the tension and excitement up. But, where do we go from here?

Castle: Nanny McDead

“Richard Castle. Just NY.”

The case of the week is about a nanny who has been found in one of the dryers in the building in which she worked. It is not one of the most interesting or fun the show has ever done, but what I loved about this episode was learning about Castle the man and watching the beginnings of his partnership with Beckett.

Community: The First Chang Dynasty

“Fire can’t go through doors, stupid! It’s not a ghost!”

I'd like to start by thanking Josie for helping me out with the big Block o' Community this week. I've said it once and I'll say it again, you are a very beautiful star, Josie.

Supernatural: Survival of the Fittest

Castiel: "Please accept this sandwich as a gesture of solidarity."

"Carry On, Wayward Son" gives me chills at the end of every season. Have they ever done a bad season finale?

Awake: Two Birds

“Let’s make this right.”

The first half of this episode was extremely disorienting. I started to doubt my faith in Britten’s mental clarity, and began to wonder if his therapists were correct: not only had he fabricated at least one of his universes, but he had begun to fabricate a complicated story of persecution that would allow him to wallow in a frustrated, dead-end investigation that couldn’t end, because the investigation allowed him to prolong his own complicated refusal to accept his loss.

Community: Digital Estate Planning

“I think we can choose how we want to play.”

[Don’t worry, communitarians: Mark got hit with a Community triple play this week, so I’m pinch-hitting for just this one review. Mark will return with your regularly schedule reviewing for “The First Chang Dynasty” and “Introduction to Finality.”]

Revenge: Grief

"I will never accept and I will never forgive."

Revenge's spectacular premiere season is almost over, and this hour was a pretty effective setup for the hopefully explosive finale.

Glee: Nationals

Rachel: "When I first met you, I was just an annoying Jewish girl with two gay dads and a very big dream. Today, I still have two dads, I'm still Jewish and probably just as annoying..."

Glee hasn't been blowing me away this season. But this episode brought my love of Glee back to me, because (1) they finally, finally, FINALLY won the national championship, and at the best possible time; (2) Rachel and Finn rocked "Paradise by the Dashboard Light", a performance perfect for their characters that reminded me of their spectacular version of "Don't Stop Believing" in the pilot episode; and (3) the obvious poignancy associated with the fact that a number of the characters are graduating, and some of them won't be back next season.

Eureka: Jack of All Trades

… in which Warren Hughes arrives to evaluate the Astraeus crew’s fitness for duty just as Carter and various crew members begin switching bodies.

Glee: Props

[Hey, Glee fans! I'm subbing for Harry, who is on vacation this week, and J.D. will be helping me out by writing the music section. We're doing last night's double episode separately. Our review of "Nationals" will be posted tomorrow.]

Artie: "You can't un-see something like that."

My eyes! My eyes!

Merlin: Excalibur

“I have watched so many people I love die at your hands, Uther Pendragon. Now it is your turn.”

Flamin' typical! You wait all season for a great episode of Merlin, and two come along at once.

Game of Thrones: A Man Without Honor

“No matter what you do, you're foresaking one vow or another.”

With only three episodes left, Game of Thrones has unsurprisingly taken a moment to remind us of what is at stake in the constant warfare, treachery, and deceit of Westeros and beyond: people, all of whom might die at any moment, or make an incredibly stupid decision, or both.

Mad Men: Dark Shadows

"I'm thankful I have everything I want, and no one else has anything better."

It doesn't seem fair to claim that Dark Shadows didn't totally work because it was such a Betty-heavy episode. And that was a probably an unfortunate turn of phrase. Heh. It's been a constant criticism of Mad Men in recent years that Betty isn't entirely necessary anymore, so stuck on the periphery of the show that she could easily be written out all-together. It's similarly unfortunate that this debate has only gotten more heated this season, when January Jones' pregnancy has majorly increased her absences from the series, meaning Betty turning up again after several weeks of being MIA comes off like a visit from a ghost from the past. But lumping Betty into a slightly 'off' episode is more of an unlucky coincidence than a statement on Betty's redundancy.

Because there's still a lot to like about Betty Draper. I liked her ridiculous petulance over Megan's presence in Sally's life, as well as her doomed scheme to damage Megan and Don's marriage. What's an unexpected by-product of Betty's removal from so many episodes is that we've seen Megan and Don go through so much worse over the course of the season, and this lazy attempt to create some tension can only read as pretty underwhelming. It's just another way of exploring Betty's naivety, in that she actually thought this would do some damage.

The problems in Dark Shadows lay with a certain clunkiness to a lot of the story. Sally's school project seemed like a strained deus ex machina for the Anna revelations to come out, while there were other moments that probably didn't work as well as the writers assumed they would -- like the portly Betty glimpsing the slim Megan putting on her shirt in her apartment. I don't know, there was just an on-the-nose quality to a lot of the story, lacking in traditional Mad Men subtlety. Again, I don't think it's a Betty-related problem, but it is interesting that the last time this occurred was with the Betty stories back in Tea Leaves. I may be in denial, but I'm sticking to it.

Resentment and petulance weren't just exclusive to Betty here, though. Don's treatment of Ginsberg was another example of the characters struggling to come to terms with being shut-out by generational change, Don using his power to entirely throw out Ginsberg's idea -- which was undoubtedly more interesting than Don's gravelly-voiced Satan thing (aww, he was so proud of that voice). I've also decided that I don't like Ginsberg. I understand his frustration, and sympathize with that feeling of being undermined by far more powerful people... but stay in your place, dude! Yes, he has the talent, but you can't breeze into this environment and try and call the shots with things. I think it's because we see Peggy constantly getting undermined and undervalued by those around her, yet she seems to rebel in a far less showy manner. Then again (and sorry for the constant flip-flopping, but it's what this show does to me), maybe we need more of that kind of Ginsberg-ish attitude? Where you're not merely remaining subservient to people who are, you know, screwing you over? Blah.

Elsewhere, Roger's fling with Jane was a neat encapsulation of their relationship (Jane being the arm candy whenever he needs it), but ended with that tragic resolution where she seemed genuinely desperate to move on with her life. Again, though, that strange sense of contrivance that hampered certain moments this week managed to infect that last scene. I don't know, I kept expecting Roger to burst out laughing during his last-minute, remorseful exit. It didn't feel genuine at all, neither from a character level and certainly not from the writing itself.

Don't get me wrong, this was still a very, very good episode of television. But there was definitely this 'off' tone to some of it, only made more glaring because, hey, it's Mad Men. The intentions and emotions were there, but subtlety was not a friend this week. Just try and not blame Betty. Everybody blames Betty.

Notables

- I only just realized that the new Bobby also plays MJ on Desperate Housewives, and he's a little stiff and 'child actor'-ish over on that show, too.

- It's a little thing, but I love that you had to put two-and-two together with the soap opera audition and the title of the episode. It reminded me of an incredible movie called You Can Count on Me, where the final scene really contextualizes the title of the film.

- However, I really didn't like the scene between Megan and her friend. It felt just as phony and melodramatic as the Dark Shadows script they were just reading.

- I know she's forever Rory Gilmore, but... Alexis Bledel? In that dream sequence? Damn.

- I miss Lane. Though he was probably busy melting universes together or something.

- Little bits: Betty's orgasmic expression eating the Thanksgiving dinner; Pete's disgusted look towards Howard on the train.

Quotage

Pete: I spent an hour on the phone last night with my new best friend Victor at the New York Times.
Roger: Gonna get a paper route?

Roger: When we took LSD, you swore to me that you'd always be there for me.
Jane: Stop telling me things that I said that night. Like I know I didn't promise to remarry right away to save you alimony.

Pete: You know what Howard, why don't you spend Thanksgiving with her and I'll go to your house and screw your wife?

Previously posted at Unwelcome Commentary.

Breaking Bad: I.F.T.

"Honesty is good, don't you think?"

Big tug of war between Walt and Skyler. Walt may have won, but Skyler certainly got the last word.

Castle Book Review: A Brewing Storm

“After all, if there was anything he hated, it was unfinished business.”

Derrick Storm is dead. He was killed by his creator, Richard Castle, four years ago in a book called Storm Fall. Castle was not allowed to have his hero die in peace; everyone from his competitors to his publisher and most of his fans bemoaned the killing and wondered if Castle had lost his mind. But, Storm was laid to rest and Nikki Heat was born.

The Cabin in the Woods

Honestly, I had absolutely no expectations going into this, except for the good reviews coming out about it and because it was a Joss Whedon project. Fran Kranz (formerly of Dollhouse and one of the leads) is quoted as saying that when he read the script, he smiled for days afterwards. Of course I'm paraphrasing, but I had sort of the same reaction, I was smiling the entire way home after watching it. In short I was completely blown away by this movie.

I haven't said this before, but I'm a horror movie buff. I've seen good horror movies, I've seen bad ones, I've seen horrible ones, I've even seen a couple four star ones. I've also seen some horror spoofs that were all over the map in quality. This movie was a spoof, a slasher film, a mind twister, a supernatural spook fest, a zombie film, but first and foremost it was an absolutely great film. I just wish it was a little easier to review.

Don't get me wrong, I have a ton of stuff I want to talk about. It's just that I can't tell you anything without spoiling the fun. Anyone who knows Joss Whedon (who wrote this movie) knows he likes to deconstruct genres, combine them, and then turn them on their ear. He is a master of blending drama, comedy, and suspense into new and wonderful creations. This time he has created a world that is not only unique, but almost creates a new genre. I'm pretty sure we're going to see rip-offs of this movie for a decade to come.

Okay, let's breakdown the elements I can talk about.

The leads were all wonderful. They brought subtlety and range to what are normally one-dimensional characters. Of course, that's a conceit of the plot, but I won't go into that. The effects were really effective, even though they were occasionally cheesy. The humor was great and played with the tension of scenes instead of undercutting that tension. The final act was simply amazing, and there were no less than five moments that had me literally on the edge of my seat practically cheering. There were things in this movie I've never seen before, and will hopefully never see again.

I spent a day trying to think of any negatives, and I can only come up with two. The first is that this has a really bendy narrative that is very meta, which ties into a bunch of self-referential humor about the plot and the horror genre in general. Also, if you don't like bloody gruesome horror, then you might have trouble with the content. This is a gorefest to be sure, even though it isn't exactly scary. I felt the right amount of pathos for the characters and what they were going through, the monsters were creepy and effective (but this wasn't really about the monsters), and I genuinely jumped out of my seat twice. But the horror aspect of this isn't what makes this movie great. In fact it's kind of irrelevant.

So if you can handle the grue, I strongly recommend this movie. I know I've kinda gushed a little, and this might not be a critical critique. But this movie is already one of my favorite horror movies of all time, and might even make my list of favorite movies of all time.

4 out of 4 Hillbilly zombies stalking us with rusty implements of destruction.

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Castle: Flowers For Your Grave

“I’m here for the story.”

It’s been done over and over again -- the procedural show in which two opposite personalities are paired together to solve the crime of the week. What makes this show different from the ones that have come before is that while our two protagonists are opposite, they are also a lot alike.

Community: Curriculum Unavailable

“We're all kind of crazytown banana pants.”

So we had some very good news last week. Against the odds, Community has been renewed for a fourth season. We'll be getting 13 more episodes. I know a lot of people are bitter about that, but I'm not too bothered by it. Maybe it's because I'm British and am used to sitcoms having six episode seasons. To me, 13 is still quite a lot. That's one more than Fawlty Towers ever had.

Dark Shadows

Barnabas: "Love means never having to say you're sorry. However, it is with sincere regret that I must now kill all of you."

Based on a 1960s/70's soap opera of the same name, this is the second attempt to capture the zany supernatural antics of this beloved classic. Okay, maybe "beloved classic" is a bit of a stretch, but it is fondly remembered by a lot of people. I've never had a chance to see the original soap, but I did see the remake done in the early 90's, which I only remember vaguely as being moody and romantic. This new one gives us a very typical set-up of supernatural monsters with vampires, ghosts, and witches, oh my. They don't really explain the rules of the supernatural, but I guess that isn't really the point of the film. It's about the actions of the characters, not what they can do. Unfortunately, although a lot of it works really well, a good chunk of it doesn't.

Johnny Depp is brilliant as usual as the lead vampire Barnabas Collins. He is creepy, funny, and oddly sympathetic. I say it's odd because, he really is a monster here. The character kills people indiscriminately, even if he is apologetic about it. Yet somehow he makes the character work, even though at times I think it's in spite of the writing, not because of it. Eva Green plays the maniacal and villainous witch Angelique, and she really gives an over the top performance. Most of the time she succeeds, even though she goes a little too far a couple of times. Michelle Pfeiffer (Elizabeth Collins Stoddard) is perfect as the aging matriarch, which in a nice change of formula isn't the typical evil, manipulative character. I wasn't impressed with Helena Bonham Carter (Dr. Julia Hoffman), who plays the family doctor/shrink. I usually like her performances, but for some reason I can't quite put my finger on, she doesn't work in this movie.

Chloë Grace Moretz is Carolyn Stoddard, an angry, rebellious 15-year-old with a secret that literally comes out of nowhere. I guess if I watched it again I'd be able to pick out clues, but I'm not sure if they did enough to make the reveal of her secret in the third act worthwhile. Jonny Lee Miller (Roger Collins) and Jackie Earle Haley (Willis Loomis) are marginally important secondary characters. I don't think they add much, unfortunately, although Haley is great with what he was given. Miller also did well with his character, but I'm not entirely sure if his character is important enough to be there at all. The other kid (Gulliver McGrath/David Collins) is also kinda just there, even though he had a fun little plot of his own.

Strange that for me, the stand-out performance is also the most underutilized character. Bella Heathcote plays both the governess, Victoria, and Barnabas's dead paramour, Josette. She is subtle and haunting in both roles, evoking the right amount of creepy pathos. I especially liked Victoria, who is mysterious and vulnerable and has the most definitive character arc besides Barnabas. Her back-story, although not so original, worked really well. I just wish they had paid a bit more attention to her character, since she is pretty central. For big chunks of the film, her character is pretty much forgotten.

The effects are excellent for the most part, and I think that's because they used primarily physical effects. There isn't a lot of glaring fake CGI, and the few times where it is used are really beautiful, save one. I won't go into details, but it is jarring how badly handled this one special effect is. It didn't break the scene, but I cringed at how clumsy it looked. Other than that one effect, the overall tone is fun but a bit odd. They chose to set everything in 1972 (except for the origin flashback, which was in the 1700's), so everything has a groovy vibe. Colors are bright, clashing, and occasionally psychedelic. It creates a nice discordance with the darkness of everything else, which is very dark, grey, and gothic. It did allow for some very fitting and wonderfully chosen 70's music. If nothing else, the soundtrack is awesome.

So I'm a little torn. I enjoyed the movie, but wasn't thrilled. Some of the dialogue is really witty, and some is really clunky. It has some very dark and goofy humor, but it isn't actually funny. It's campy, but isn't a parody. It felt almost like it was just paying homage to the source material. Unfortunately it's a little too serious in places and too silly in other places to hit the right balance. It has some strange pacing and narrative issues.

I guess in some ways, it's just another ho-hum Tim Burton outing. And that's a shame, because I used to love Tim Burton movies.

2 1/2 out of 4 exploding fish canneries.

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Supernatural: There Will Be Blood

Dean: "You got Pac-Man and True Blood in the same room, and that's bad news."

This felt like the first part of a two part finale. Probably because it was.

Revenge: Legacy

"Destruction is in my DNA. Take it up with Darwin."

Few shows can pull off offbeat episodes such as this one but "Legacy" was a stunning success. It did a superb job of bringing together a variety of plots threads and intriguing details that emerged throughout the year into a fascinating and cohesive whole.

I was most impressed by the fact that the writers dedicated an entire episode to flashbacks without warning. I hadn't realized how much we needed an hour such as this one to put things into perspective and ensure our alignment with Emily's path. All signs certainly lead to a near cataclysmic clash of power in the finale and we're now firmly on Miss Thorne's vengeful trajectory.

Beginning with our heroine's suitably dark club days following her juvie-release, it was interesting to see Amanda's first return visit to the Hamptons as well as the reappearance of a number of faces from the beginning of the year. There's a certainly satisfying touch watching all the people Emily burned over the year gathered in a dinner party from hell. The hour was filled with little nuggets of plot points that certified just how much the Revenge writing staff care about continuity, which makes this viewer supremely happy. I think what I enjoyed most, besides seeing Amanda's previous victims, was Lydia's appearance. I never expected her to be the one who planted the first move on Conrad, so I'm glad she got what was coming to her.

Moreover, I absolutely adored Victoria in this one. It was an eye-opening delight to see her first meeting with David Clarke and just what exactly brought these two souls together. The chemistry was evident from the start and I look forward to seeing more endearing moments between them as they're undeniably my favorite couple on the show.

Finally, I'm intrigued that we jumped back to the present for the episode's final scene and ten years later no less. Wonderful ending.

Vengeful Bits:

- Jack's flashback hair: HA!

- Oh Frank, I don't really think I missed you. Still as creepy as ever.

- I pretty much love any time young Amanda is on screen having a moment with her father. They're an awesome duo.

- Madeleine Stowe looked absolutely gorgeous in that "Dolce".

- Jack's bartender girlfriend was probably the weakest part of this hour. She seemed much too forced.

- Sinfully awesome shot of Lydia adjusting herself in the mirror as Conrad gives his speech.

- Amanda's breakdown at the end following the discovery of the body was great.

- Loved Victoria grabbing Mason by the head. Wish she snapped it off.

Brimming with an excellent eye for continuity, this was a marvelous hour of Revenge.

3.5 out of 4 Infinity Tattoos.

Previously posted at Nad's Reviews.

Doux News: May 13, 2012

This week: Renewals and Cancellations --- Finales Ahoy --- X-Files Mania? --- Joss on Joss --- For Geek Moms Everywhere

(Note: I’m covering the news column on an as-needed basis. But never fear! Billie and the other writers are helping to feed me news tidbits, so shows I don’t watch should still get some love.)

Upfronts are here, and the long wait for renewal and cancellation confirmations for the major networks is almost over. Actually, in most cases, the wait is already over. Typically the renew/cancel news comes out when the fall schedules are officially presented at Upfronts. But this past week has seen a flurry of announcements, and at this point I’m not sure if any shows are left hanging in the balance.

Unsurprisingly, FOX officially cancelled Alcatraz; however, they did renew Touch. They also picked up a new pilot from Vampire Diaries showrunner Kevin Williamson called The Following. It’s about serial killers and stars James Purefoy (Rome, Camelot) and Kevin Bacon (!), as well as Justified’s Natalie Zea. I’m guessing this means less time with Winona in Season 4 of Justified. Could we please get more Rachel and Tim her absence?

Also unsurprisingly, NBC cancelled Awake; however, they did renew Community for 13 episodes and my beloved Parks and Recreation for a full season (woo hoo!). To be honest, I’m not too broken up about Awake. It was a good show with a great pilot, but I think the “which reality is real?” structure would have been difficult to maintain over the long haul, and the procedural elements they were using as filler were generally very weak. I’ve certainly enjoyed Jason Isaacs’ mesmerizing performance, but one and done is probably about right for this show. Hopefully, we’ll get some measure of closure in a couple weeks.

NBC also announced a whole bunch of new pilot pick-ups. The most intriguing ‘round these parts is probably the new offering from J.J. Abrams and Eric Kripke (Supernatural), titled Revolution, which is about people struggling to survive in a world where all forms of energy have ceased to exist. My interest was already piqued based on the combination of those two creators, but it also stars Giancarlo Esposito (Breaking Bad, Once Upon a Time)! Apparently David Lyons (The Cape) and Billy Burke (Twilight) are also in it, but it had me at Giancarlo Esposito.

Moving over to ABC, most of our favorites were renewed, including Once Upon a Time, Revenge, and Castle. (I’m also looking forward to a second season of Suburgatory.) In addition, a deal was struck to move Cougar Town to TBS for a fourth season. This is great news for me, as I’m a big fan of the Cul-de-Sac Crew. The show hasn’t been knocking it out of the park every week this season, but they’ve still been bringing enough of their particular “wackiness plus heart” formula to keep me happy. I’ll be watching next season.

ABC cancellations include The River and Missing, but notable pick-ups cover a host of potentially genre-friendly fare, as well as several shows featuring some perennial favorites, including Terry O’Quinn, Andre Braugher, Connie Britton, Robert Wisdom, and Anthony Edwards (!).

And at the CW, Nikita and Heart of Dixie are in, and The Secret Circle and Ringer are out. Of potential interest (or cause for trepidation) in CW series pick-ups are Beauty and the Beast, a reboot of the 1980s series that starred Ron Perlman and Linda Hamilton, and Arrow, a series that takes us back to Smallville territory with a focus on comics hero Green Arrow.

Finales Ahoy

It’s May and its sweeps, so season finales abound. Castle wrapped its second season this past Monday in an apparently satisfying fashion. Thursday was a big night with sweet and emotional finales on Big Bang Theory and Parks and Recreation, plus twists and turns aplenty on The Secret Circle and Vampire Diaries (I don’t actually watch these two, so I’m really just spit-balling here). And last, but not least, Fringe aired its freaky and emotionally intense season finale on Friday.

On deck for this week: Once Upon a Time, How I Met Your Mother (an hour-long episode), Hawaii Five-0, Cougar Town (two episodes in an hour-long block), Community (a three-episode marathon --- interrupted by 30 Rock at 8:30), Person of Interest, Grimm, Nikita, and Supernatural.

X-Files Mania?

Is it just me, or has there been a strangely high number of X-Files shout outs in primetime television of late? Last week there was a nod on Awake, when the Brittens sat down to enjoy an old X-Files marathon. Then, this past Wednesday there were references in two of the ABC comedy shows, with characters on Suburgatory and Don’t Trust the B____ in Apartment 23 settling in for an evening of X-Files watching. Add that to a spring cleaning recovery of my old collection of X-Files calendars, magazines, and news clippings (I was really obsessed with the show), and it feels like XF is everywhere these days! A cosmic sign that I need to start on those Season 2 reviews?

Joss on Joss

Courtesy of Josie (who did not make me post the lead image)

Joss Whedon posted an interview with himself on Whedonesque, and the New York Times covered it.

For Geek Moms (and Dads) Everywhere

In honor of Mother’s Day, I thought I’d share one of my fun “geek mom” memories. My girls aren’t old enough to really embrace geek culture yet --- if you don’t count those fantasy and little girl staples, unicorns, princesses, and fairies --- but I had my first inkling that my oldest might be destined for geekdom when she was about two years old.

We turned on the television one night and it happened to be on the Sci Fi Channel (that’s what it was called back then). One of those craptastic Sci Fi Originals was airing --- The Dragon Chronicles: Fire & Ice. We left it on for a few minutes because Amy Acker was the lead and, hey, cheesy CGI dragons! (Not to be confused with the awesome and totally cute CGI dragon above.) Pretty soon a dragon showed up and burned down an entire village. Naturally, the king’s men ran out to the ramparts to start shooting arrows at the thing, and that’s when my little daughter calls out: “Oh no! Watch out, dragon!”

Apparently the burned village was of no consequence to her, but the thought that the men might hurt the dragon was cause for concern. My husband and I quickly changed the channel to something more appropriate, but then exchanged looks of what I can only describe as extreme glee and pride. She cared about the dragon! Sure, this one was a fire-breathing menace that just killed a bunch of people, but she still cared about him. She might be one of our kind! Huzzah!

Happy Mother’s Day!

That's it for this week. Opinions, raves, rants, questions? Any favorite geek parent moments to share? Post a comment!

Image credit: Westeros, Copyright © HBO

Awake: Say Hello to My Little Friend

“I see a little silhouette-o of a man.”

May I, just for a moment, abdicate any pretense of reviewer maturity, detachment, and general grown-upness and say exactly what I’m thinking? Thank you, I will: this episode was totally awesome. And this show totally deserved a renewal, even though none of us thought it would get what it deserved. Why isn’t life fair?

Fringe: Brave New World, Part II

“She is the redeemer.”

Fringe finales are usually remarkable works of art: emotionally affecting, scientifically (and delightfully) improbable, mythologically fascinating. This finale was not remarkable, merely good. It is more interesting to wonder what will happen next than it is to consider what has just happened.

Vampire Diaries: The Departed

“This isn’t how our lives were supposed to be.”

Oh.

My.

Frakking.

God.

Renewal NewsFlash: Woo, But Not Hoo

Breaking news! In Thursday's top story, numerous renewals and a few conspicuous absences give us something to look forward to once we survive the summer television wasteland.

Breaking Bad: Caballo Sin Nombre

Walt: "I can't be the bad guy."

Interesting that in the previous episode, Jesse said point blank, "I'm the bad guy." Walt still hasn't caught up emotionally with Jesse. How about that.